6. Discuss pointers in basic handling and care of
communication media equipment; and

7. Prepare a message and media concept of a communication
material on NRMA.

Once a relevant communication program for NRMA has been
designed for specified localities, ICS planners can begin developing messages
and materials for the planned intervention. As in strategy design, NRMA users
may be involved in this process.

DIMENSIONS OF AN NRMA MESSAGE

In participatory message and materials development, the change
agent can start with making sure that s/he and NRM users who will be involved in
developing NRMA messages and media materials have a common understanding of the
following six dimensions of a message:

1. Appeal - the benefit or value associated
with the message, such as:

Concern
for the environment

Love for future
generations

Responsibility

Happiness

Bright future

Sense of family

Importance of healthy
lifestyle

Peace of mind

Control over the
future

2. Approach - how a subject is presented, whether
humorously or seriously; directly or indirectly; rationally or emotionally; or a
combination or blend of approaches

3. Content - what is being presented or conveyed; the
main idea or behavior being promoted

4. Text or image - form of the message as copy, script,
slogan, illustration, graph, photograph

5. Context - special characteristics of the media
environment in which the message is conveyed, such as occasion and physical
setting if relevant

6. Source - from whom the message comes from, whether a
person or organization, which can affect its credibility

SEVEN CS IN DESIGNING EFFECTIVE MESSAGES

Before starting to develop NRMA messages and materials towards
attaining the communication objectives set (discussed in Chapter 4) the message
developers should bear in mind seven pointers in preparing "artful" messages, or
messages that bear an impact on their audiences.

These pointers are more easily remembered as the "7 Cs" (as in
seven seas), as follows:

1. Command attention. Among many distractions and
stimuli around, a message must be compelling enough to stand out and be noticed.
In a poster or flipchart, the size of a picture or illustration and letterings,
as well as color and contrast attract attention. Messages composed in a witty or
creative manner also catch attention. For example, a video produced in Cambodia
by the Community Fisheries Development Office (CFDO) of the MAFF Department of
Fisheries used a humorous approach with a popular comedian as lead
actor.

It is important to remember, however, that in catching
attention in a creative manner, a message remains culturally appropriate,
politically correct, and socially acceptable.

In short, it should not contain any element that may offend
sensibilities of the audiences of the NRMA communication material.

2. Have a clear message. Messages should be simple and
direct, eliminating unnecessary clutter in images or words. A message won't be
remembered if it is not understood. For example, instead of saying, "Natural
fertilizers keep the soil healthy to produce a healthy crop", a poster may
simply say, "Use natural fertilizers." Further elaboration and explanation may
then be added in smaller font/letter sizes.

3. Communicate a benefit. An audience should clearly
see what they can gain from following a prescription like using natural
fertilizers. For example, a poster with such a message may show the satisfied
farmer who uses natural fertilizer and showing samples of his harvest from
healthy plants.

4. Be consistent. People learn by repetition. A message
may be repeated in different ways by presenting them in different media
materials as well as in interpersonal communication. However, care should be
taken that several messages do not unintentionally contradict and cancel out one
another. For example, something in the picture might be inconsistent with the
verbal message, as in a poster promoting fishing practices allowed by law but
showing the illegal practices.

5. Cater to the heart and mind. NRMA messages and
materials can be given a human touch using an emotional appeal or tone. This is
as important as facts and good reasoning, which appeal to the mind.

6. Create trust. People will believe and be convinced
by a message that is based on facts.

7. Call to action. Because the aim is to change or
affirm users' awareness, knowledge, attitudes, and practices in NRMA, NRMA
messages and materials should directly ask the audience to do
something.

PARTICIPATORY DEVELOPMENT OF NRMA MESSAGES AND
MATERIALS

Developing NRMA messages and materials proceeds through the
following steps, made participatory when NRMA users in a community are involved
in each step:

1. Develop a message concept. In developing
posters appropriate to a particular rural audience, a change agent approached
the villagers by saying, "I can teach you, if you teach me first" (Maglalang,
1976). He then asked villagers to draw for him, no matter how crudely, how they
would explain family planning principles to their fellow villagers. What
resulted were a series of posters that portrayed different family planning
concepts using an analogy to farming concepts and practices. The final images
used were refined by artists, pretested with villagers, and further refined
based on the pretests. But the original concepts and images used came from the
farmers.

The same approach may be used in involving farmers and fishers
in developing message concepts in NRMA. The change agent may ask them to teach
him/her first how they would explain to their fellow villagers difficult NRMA
concepts, like the "give-and-take" relationship between humans and natural
resources.

The message concept is also known as the overall creative
context in which the key message is presented, referred to as "the big idea" in
large advertising campaigns.

Towards developing the message concept, the message developer
should:

a. Know what message device to use.
Developing the message concept first involves selecting an appropriate
device or way of convincing an audience to change their behavior. For example,
advertisers use the following ways:

Giving an
idea a bad label

Associating something with a
"virtue word"

A respected person says that a
given idea/program/ product/person is good or a hated person says that it is bad
- carries the authority, sanction, and prestige of something respected and
revered over to something else to make the latter more acceptable

"Everyone is doing
it!"

Method by which a speaker
attempts to convince his audience that he and his ideas are good because they
are "of the people"

Involves the selection and use
of facts or falsehoods, illustrations or distractions and logical or illogical
statements to give the best or worst possible case for an idea, program, person,
or product

b. Pretest the message concept. Present the message
concept to peers to test for their reactions and get comments and suggestions on
making it more effective. It would even be better if the message concept is
pretested with NRMA users as well.

2. Design a message for a specific material based on the
concept. This involves writing a script or text for the specific NRMA
communication material. For example, a poster may have the following headline: "
Make your village pesticide-free!"

3. Pretest the message with the intended users. As done
with the message concept, pretesting involves trying out the message with
representatives of the intended users of the NRMA materials to check for their
reactions. This is also to make sure that they have no unintended contradictory
or distracting reactions. Based on users' comments and suggestions, the message
developer should revise and refine the message.

4. Develop the storyboard. The storyboard is the
proposed visual presentation of the message. For printed materials (e.g.,
leaflets and posters), these are already the prototype materials. Appropriate
images should be selected for the storyboard or prototype. This is again
pretested to check for user reactions that may counter the objectives of the
communication material. For example, pretesting a leaflet with an illustration
of a farmer's face on the cover drew protest from one farmer. He questioned why
artists always portray farmers as haggard, old, and in his words, "ugly".
Comments such as these guide the message developer on revisions that are needed
on a prototype communication material.

5. Produce final materials. Once pretests of revisions
no longer elicit contradictory reactions from NRM users, the communication
material may be finalized and reproduced.

6. Distribute materials. All the expense in developing
and producing a communication material is fruitless if they are not distributed
and used.

TYPES AND USES OF COMMUNICATION MATERIALS

There is a wide range of possible materials that can be used
in communicating NRMA with fishers, farmers, and other NRMA stakeholders. These
may include objects and specimens; printed materials such as leaflets,
brochures, handbooks, and newsletters; visuals and audiovisuals such as posters,
displays, bulletin boards, audiocassettes, and video; the traditional mass media
including radio and television; and alternative community media like audio
towers/ public address systems, drama, and other folk media. Their uses in
communicating NRMA are outlined by Cadiz (1991, 2003) as follows:

1. Objects and specimens. Real objects and
specimens, if readily available, are useful in demonstrations. If they can be
preserved without altering their physical properties, they are useful for
repeated use and review.

This is if their availability is highly seasonal. For example,
specimens of friendly insects and insect pests can help farmers distinguish
which insects they find in the field are harmful and not harmful to their crops.
Specimens of diseased plants can also be used to identify the symptoms of plant
diseases found in the locality.

2. Publications/printed materials. For NRMA users and
stakeholders who do not know how to read, publications will not be highly useful
unless they are full of pictures or drawings and contain only a little text. On
one hand, they are useful reference materials that help extension workers and
literate NRMA users because publications can explain ideas and practices
comprehensively, depending on the type of publication.

Leaflets are single-sheet materials folded in various
possible ways. They are useful in explaining or presenting briefly a simple NRMA
idea or practice. Brochures or pamphlets are made up of more
pages, while a handbook is thicker, about 20 pages, and can be more
comprehensive. All are useful in showing and explaining procedures or "how-to"
topics, especially when properly illustrated with drawings and pictures to show
ideas more concretely and clearly. Of course, the most comprehensive "how-to"
publication is the manual. Meanwhile, newsletters help provide
updates on NRMA developments and may be a useful way by which literate farmers
or fishers from different localities can regularly exchange information about
their respective practices, experiences, and lessons learned.

3. Visuals and audiovisuals. Visuals and audiovisuals
appeal to the senses of sight, hearing, or both. Posters and
billboards are prepared in an eye-catching manner using pictures, color,
and large texts. They present one complete idea briefly so that viewers will get
the whole message quickly while passing by it. To be effective, they must elicit
action by either telling viewers to do something or making them think about an
issue. Billboards are larger versions and usually made of more durable materials
for people in transit to see. Meanwhile, displays or exhibits can present more
details about an NRMA idea or practice using pictures, text, and sometimes, real
objects and specimens.

Bulletin boards can also be used to mount displays on,
and their contents may be updated every now and then. The bulletin board may
have regular sections for each category of information, such as community news
and events, NRMA basic information, new research findings, and the
like.

Audiocassettes, meanwhile, can substitute for radio
programs when radio signals cannot reach NRMA users or no local radio station
exists to air local material. They are useful for NRMA users do not know how to
read because they can listen to detailed explanations of an idea or practice
from experts and extension workers. An advantage of audiocassettes over radio is
that the user can listen to and replay them anytime they want. They may be used
together with illustrated printed materials so that NRMA users can see aside
from hear the idea or practice being described. Finally, video is a
popular way of learning about NRMA because of the moving images synchronized
with explanations/narrations, music, and sound. They catch users' attention and
interest especially if the NRMA ideas and practices are weaved in a realistic
story.

4. Radio and television. Villagers like to listen to
radio and watch television if they can. They use these mass media primarily for
news and mostly, for entertainment. Development agencies often use these
government radio and TV stations to create awareness of and interest in their
respective programs, as well as generate support for them. However, these mass
media are often too expensive to use if the radio and TV stations will charge
for the use of their air time. Likewise, radio and television program production
requires broadcasting, performance, and broadcast production skills.

5. Alternative community media. Examples of
alternative community media include audio towers/public address systems,
drama, and other folk media. Audio towers use karaoke players
connected to trumpet loudspeakers that are mounted on a steel pole or tower.
These can serve as public address systems where instructional audiocassettes on
NRMA may be played for community listening.

Or, an ongoing lecture by an expert in a farmers' or fishers'
class may be amplified for people to hear from their own houses. Village
councils in some Philippine villages manage audio towers. They are used as a
means to disseminate community news and relevant information that can help in
people's livelihoods or sanitation, health, and nutrition practices. Drama and
other folk media are also useful means by which villagers can express their own
views and beliefs about their natural resources. These media can appeal to
people's emotions in order to move them to act.

MAKING LEAFLETS

As printed materials, leaflets use a lot of text in explaining
NRMA ideas and practices. Thus they must be written well.

3. Plan the form, size, and shape of the leaflet, and the
color and illustrations to be used in it.

4. Organize the contents of the leaflet, ensuring an easy flow
of related ideas using appropriate transitional phrases.

5. Present the contents of the leaflet using short, simple
sentences; short paragraphs; enumerations or bullets; and subheads. Key points
should be emphasized so that readers can quickly get and remember the main
ideas.

6. Use the "you" approach, which presents the information in a
simple and direct manner.

Types of Leaflet Titles

An appropriate and catchy title of the leaflet helps get the
readers' attention and gives a quick idea of its contents. The leaflet title may
be any of four types, as follows (UPLB CDC DDJ, 2003):

TITLE TYPE

EXAMPLE

1. Statement

Natural Fertilizer Improves the Soil Good Nutrition is Not
Expensive

2. Question

How Useful Are Natural Fertilizers? Dwindling Fish
Catch?

3. How-to-title

How to Culture Tilapia Easy Ways to Raise
Pigs

4. Suggesting/ commanding

Save our Forest, Save the Trees Befriend Your Friendly
Insects

Distributing Leaflets

Beyond designing and producing the leaflet, it is important
that people it is intended for read it and follow its instructions. Distributing
them properly is one key to making sure that the leaflet is put to good use.
Persons who are assigned to distribute leaflets should blend well with the
people and be dressed in a usual way (UPLB CDC DDJ, 2003). They
should:

1. Establish eye contact with people who are
approaching and smile at them;

4. Avoid having long conversations or getting into arguments,
as the aim is to hand out leaflets. Offer to talk to people who are really
interested later; and

5. Pick up leaflets that people have thrown away before
leaving an area; it reflects badly on a cause if it is seen littering the
street.

MAKING POSTERS

A poster puts together line, color, and words in order to
catch and hold a viewer's attention long enough to communicate a brief message
(UPLB CDC, 2003). It should:

1. Catch attention;2. Inform and
motivate;3. Be remembered; and4. Make the viewer want to act.

A poster must be simple; attractive; contain messages that are
quickly and clearly understood; and have good composition, color, and
technique.

Parts of a Poster

A poster has five parts:

1. Illustration and/or photograph which attracts
viewers' attention and at the same time gives a message.

2. Title or headline which briefly says the main idea or
message of the poster, such as "Save the Lake"

3. Words that explain further or support the main idea of the
poster

4. Open space which provides resting space for the eyes and
allows them to move or focus only on the main parts of the poster

5. Logo and logo type or the symbol and name of the
organization that produces the poster for identification purposes. This is
optional.

Characteristics of Good Posters

The UPLB CDC (2003) describes a good poster as having the
following characteristics:

1. It has a main idea. This is the most
important content of the poster. This tells the main message so that it is
remembered easily. It should lead the viewer to act.

2. It is interesting. The poster must be attractive and
keeps attention long enough for the viewer to get the message.

3. It is simple. In just one glance, a person must be
able to see the whole design of the poster. It should not have unnecessary
detail.

4. The message should be short enough to be read
easily.

5. The words must be readable. Letters must be large,
simple to read, and bright enough to be seen at a distance.

6. It must be familiar to the viewers. They should be
able to identify themselves with the situation shown in the poster.

7. Its color should be pleasing to the eye.

8. It should be original or present an idea in a new way.
This makes the poster interesting.

Steps in Developing Posters

To develop the main idea of the poster, you must determine
(UPLB CDC, 2003):

1. Who your main intended viewers are. Are
they fishers or farmers in a specific village or district? Are they other NRM
stakeholders, like household dwellers and local officials? What is their
literacy level? What kinds of pictures will appeal to them?

2. The objective of the poster. This tells what action
is desired of its intended viewers. Write down this objective or desired action,
specifying the main intended viewers.

3. How, when, and where the poster will be used. This
will help you decide what kind of material is needed in making the poster. For
example, it should be made of thicker paper if you expect the poster to be
displayed for a whole year so that it will last long. It should be large enough
if you expect a number of people to look at it at the same time.

Being clear on the intended users and objectives of the poster
and how, when, and where it will be used, the poster may be designed following
the steps below:

1. Make preliminary thumbnail sketches in
developing alternate designs of the poster. Include choices of color, other
visual elements, and type of illustration or photograph.

2. Decide on the type of poster, whether it will be a
single-glance poster or a stop and- study poster; a word/text poster a picture
poster, a graphics poster, or a symbolic poster.

3. Write the headline and minimal texts that will give
the message of the poster. Make sure these are written in correct grammar and in
a way that catches attention. It may take the form of a command, question,
positive statement, suggestion, news headline, or other creative statement. Make
the headline short, catchy, and easy to remember, using action words.

4. Acquire the needed materials and produce the prototype
poster. The prototype poster is the first finalized copy of the complete
poster. It is ready for reproduction. Before multiplying it into the desired
number of copies according to the number of users, it should be pretested.
Pretesting is discussed in a latter section of this chapter.

5. Display the poster. The poster may be intended for
use in facilitating learning in a farmers' or fishers' class; as a reminder to
be glanced at indoors or outdoors; or as a stop-and-study poster that the viewer
can reflect on.

If posted indoors, it should be placed at eye level. If posted
outdoors, it should be posted high enough to protect it from vandals and to be
visible at a distance. Enough light should be available where it is posted to
make sure that it can be seen and read properly. Also, it should be placed where
harsh weather will not easily destroy it.

In all these points of decision-making, the developer of the
material must bear the viewers in mind.

MAKING VIDEOS

Making videos is a complicated process. According to Castillo
(2003), making videos is composed of many steps grouped into three phases:
pre-production, production, and post-production. He describes how to go about
these three phases of making videos in this section.

Pre-Production

Video pre-production has eight steps, as follows:

1. Audience analysis - determining who are
the main intended viewers of the video and their characteristics, including age,
sex, social class, educational attainment, occupations and concerns, prevailing
attitude, and other characteristics as may be relevant to how they will receive
the video presentation

2. Need assessment - the reason why a video
presentation is needed for the intended viewers

3. Objective setting - determining the desired change
in knowledge, attitude, or practice in the audience which the video presentation
will aim for

4. Scriptwriting - preparation of a detailed written
plan of the video presentation

5. Distribution planning - deciding on how the video
presentation will be distributed to its intended users and viewed by
them

6. Budgeting - determining the funding requirements of
the video presentation and how much of these funds are available

7. Team building - orienting and preparing the video
production crew and talents so that they can work smoothly together

8. Developing a shooting schedule - preparation of the
timetable of activities in all three phases of the video production process so
as to coordinate everyone's involvement

The Video Production Script

A video production script is a written plan of its
presentation. It describes the presentation, instructs the video cameraman and
other persons involved in the production, and provides other information to
guide the production. The script gives an idea on paper what will be seen and
heard in the video. Preparing a video script before shooting the video footages
helps make sure that ideas presented in the video are well-organized.

There are four types of video presentation that a scriptwriter
may develop, depending on its purpose:

1. Informational videos raise awareness and
promote understanding of an idea by providing information and explaining a
topic.

2. Motivational videos focus on promoting an attitude
about a topic.

3. Instructional videos present procedures on doing
things.

4. Any combination of the above three types of vide
presentation is also possible.

Scriptwriting Process

Writing the video production script proceeds through the
following steps:

1. Preparation of a script plan - a one- to
two-page write-up that includes a description of the topic of the video; its
intended audience; the objectives of the video; its topical outline, and its
treatment.

2. Selection of the video treatment - a short paragraph
that describes whether the video will explain the topic using straight
narration, the "you" approach, dialogue between two or more narrators, dramatic
presentation, the documentary approach, or abstract or symbolic
approach.

3. Writing the narrative script - describes in
paragraph form how the video opens or introduces the presentation, develops and
explains the topic, then closes or concludes the video presentation.

The introduction of the video establishes its mood or setting
and introduces its theme or title. Meanwhile, the body of the video explains or
presents the argument or development of the ideas in a logical manner.

The presentation may follow any of the following sequencing of
topics: chronological or time order, spatial or place order, general-to-specific
order of ideas, specific-to-general order of ideas, cause-effect order, or
problem-solution order.

Finally, the closing part of the video summarizes its major
ideas, presents recommendations or proposals, presents ideas for the viewers to
think about, and indicates the end of the presentation.

4. Preparation of the two-column or three-column
script or storyboard - This script is prepared in two columns, one
column each for the video (seen part) and audio (heard part); or in three
columns, where a third column includes the description of the video (seen
part).

The storyboard is the visual form of the script. It is a
series of sketches showing segments of proposed video presentation.

The visual script also indicates how the scene is composed as
a picture; the type of camera shot taken (long shot, medium shot, close up;
high, normal, low angle; and video camera techniques like panning, zooming in or
out, cut, etc.); and other details to describe the scenes.

Likewise, the "seen" part of the script indicates where still
photographs, illustrations and graphics, and text will be used.

The video scriptwriter may use any of three formats of the
storyboard, as shown below (Castillo, 2003):

Paper slip or card

Two-column frame

Three column frame

In helping the scriptwriter develop the visual part of the
video script, s/he can start by identifying the main ideas of the narrative
script, then looking for keywords or phrases that should be translated into
pictures.

In doing so, s/he should think in terms of pictures rather
than words. S/he can then make rough sketches of the main ideas and select the
best that would represent an idea. Clear descriptions of the images should be
provided.

In writing the "heard" or audio column of the script, the
scriptwriter should use few and simple words, short sentences, and short
paragraphs. The video is mainly a visual medium and explanations in words should
merely support or add explanation as needed.

What can be seen on the video does not need elaborate
explanation. Thus, each idea should be shown in terms of pictures and drawings
as much as possible.

Aside from the narration, the video scriptwriter should
include instructions for using music and sound effects.

These are written in all caps. These instructions include the
following:

INTRO MUSIC -
music piece used in the introduction of the video

MUSIC UP - the volume of the
music is at the same level as that of the narration, played such in between
pauses in narration

MUSIC UNDER - the volume of
the music is low enough so as not to compete with the narration; it only serves
as background music

MUSIC FADE IN - the music
volume starts from zero then gradually increases to the desired level (whether
UNDER or UP)

FADE OUT - the music volume
gradually decreases to zero

MUSIC SNEAK IN - similar to
MUSIC FADE IN, but the increase in volume is even more gradual and is not
noticed

MUSIC SNEAK OUT - similar to
MUSIC FADE OUT, but the decrease in volume is even more gradual and the FADE OUT
is not noticed

MUSIC SEGUE - first music
piece fades out to zero volume and the next music piece fades in from zero
volume starting at the point when the first piece reaches zero volume

MUSIC CROSSFADE - as the first
music piece fades out, the next one fades in at the point when the first piece
has not yet reached zero volume. Thus, there is a point when the two music
pieces are both playing at low volumes, one fading out as the other fades
in.

MUSIC/SFX MONTAGE - montage
means an assortment of elements, in this case music and sound effects, put
together in succession.

MUSIC OUT - turning off the
music

EXTRO MUSIC - music at the
conclusion of the video.

PRODUCTION AND POST-PRODUCTION

The actual video production involves rehearsing the scenes
especially where talents will be involved; shooting the video footages following
the script; and obtaining additional video and audio inserts from available
sources.

Meanwhile, post-production involves the following eight
steps:

1. Shot listing - preparation of a list of
all the scenes or footages taken and their location as indicated in the video
counter or log of the video player

2. Transcribing interviews - putting in writing
word-for-word all the interviews taken, particularly those that will be used in
the video presentation

3. Determining interview cut-points - identifying the
specific parts of interviews that will be used in the video presentation and
those parts that will not be included, specifying exactly where they will be
cut

4. Digitizing/capturing - translating analog video
images to computerized images if the camera used is not digital

5. Video editing - putting together the selected video
images and footages along with the audio component in smooth, properly
synchronized, and logical sequence to make a coherent and effective video
presentation

6. Pretesting - showing the "draft" video presentation
to its clients and sponsors to test for their reactions and solicit their
comments and suggestions. Based on pretest results, the video presentation is
polished as needed.

7. Distribution - delivery of the video presentation to
its intended users.

8. Evaluation - systematic investigation of how the
video presentation achieves its objectives of bringing about desired change in
knowledge, attitude, or practice of intended viewers.

BASIC VIDEO PRODUCTION EQUIPMENT

Castillo (2003) presents the following illustrations to show
the basic video production and postproduction equipment.

Good composition means that the main subject occupies a
substantial part of the frame and that unnecessary details that do not
contribute to the main idea are not included in the scene. Also, a good
composition directs the eyes to move to the different parts of the scene in a
unified manner. Some basic rules in good visual composition include:

1. The rule of thirds/line of horizon - placing the
main subject along the intersections of imaginary lines used to divide a frame
into three equal sections vertically and horizontally:

Line of horizon means placing the horizon in a photo of a
landscape or sea along A or B and not at the exact center of the frame
(C).

For example,

1. Line of sight/line of action. This means
leaving extra space in the direction where a person, animal, or object portrayed
is about to move or is looking instead of leaving extra space at his/its back.
The eyes tend to move towards such direction of movement or sight. Line of sight
is especially applied when taking footages of an interview.

2. Eye level. Footages of interviews should b taken at
eye level, not at high or low angle.

3. Head room and chin room. There should be enough
space above the head (head room) and below the chin (chin room) when taking
close-up footages of interviewees.

4. Lessen distractions. Distracting lines and objects
in the background should be avoided.

5. Few camera movements. A good video is 70 percent
fixed shot. Too many camera movements, like panning (moving the camera lens
sideways in viewing surroundings or following a moving subject), tilting (moving
the camera lens upwards or downwards), zooming in or out, dollying (moving the
whole camera sideways), tracking, and using cranes can be distracting. For each
cut, use only one camera movement. For every camera movement, the camera person
should put a "pad" at the start and end. A "pad" is a three-second tape
recording. Pads provide allowance for wipes and other special effects during
editing.

Sound quality. To make sure that the sound quality of
the video footage is good:

1. Use an external unidirectional microphone when
taking the footage of an interview or someone talking.

2. If there is no unidirectional microphone, the video footage
should not be taken in noisy surroundings.

3. Wearing of earphones while taking the video footage helps
the camera person to check the quality of the sound recording.

Lighting quality. To make sure that the video footage
has the right amount of brightness and mix of colors:

1. The video camera should not face the main
source of light while taking the footage.

2. Check on the LCD monitor to make sure that the subject is
not too light or too dark before pressing the "record" button.

3. Using the backlight function of the camcorder often makes
the footage too light.

4. Using the night function of the camcorder will make the
footage greenish in color.

Taking a steady footage. To make sure that the video
footage is steady:

1. Use a tripod (camera stand with three
legs).

2. Use the wide angle lens more and less of the telephoto
lens.

3. When without a tripod, hold the video camera with both
hands.

4. If taking the footage of a long interview or demonstration
and there is no tripod, place the video camera on a steady surface like a
table.

PRETESTING COMMUNICATION MATERIALS

Communication media managers should exert effort to make sure
that scant government funds are properly used when producing communication
materials.

Pretesting, which involves checking colleagues' and intended
users' reactions to the message concept and communication material, helps
correct errors in the material before investing a large sum of money for its
reproduction and distribution.

The first level of pretesting involves presenting the message
concept and later, the preliminary version of the communication materials to
colleagues. This is to check if the message is correct, proper, understandable,
and appealing enough.

The second level of pretesting involves presenting the
material to the intended users to find out if they understand it well, find it
appealing, proper and acceptable.

They are asked if they find the material suited to and
addressing them.

Pretesting is important because it ensures that messages and
materials suit the intended audience.

It helps the media specialist answer the following
questions:

Is the message
understood? Is the language appropriate?

Can the material be easily
understood?

Are the messages relevant to
the intended audience?

Are there too many
messages?

Is the source appropriate and
believable?

Does the audience like the ad,
spot, poster, film or video? Will they tell their friends about it?

Does the ad, spot, poster,
film, or video offend anyone? Can it be changed to reduce the offense without
losing the message?

Messages should also be pretested with gatekeepers and
technical experts.

However, it is the intended audience's opinion about the
communication material that is more important.

Trained interviewers, focus group moderators, or
extension/field/ research workers with some training conduct pretests.

It involves presenting the communication material to a sample
of its intended users and asking them what they understand from it.

They are also asked to give additional comments and
suggestions on how clear is its message and how the material can bring about the
desired response.

Pretesters of communication materials must avoid the following
common pretesting errors:

1. Correcting the respondent and saying, "No,
that's not right. This actually means..."

2. Being defensive and holding negative assumptions ("You
fool! Can't you see what this is?")

3. Not planning for pretesting (budget, timing, production
revisions)

4. Pretesting with people who are not the intended users, for
example, with teachers and government employees when the intended users are
fishers and farmers

5. Letting the artists or designers do the pretesting, where
they may feel that their pride is at stake

6. Asking leading questions ("This is nice, right?")

7. Not asking for further detail/explanation on short, polite
responses

8. Explaining the message/material to the respondent ("This is
what this means. Do you understand?")

9. Not pretesting with extension workers and technical
experts

10. Not using pretest results to revise materials

11. Not pretesting at all

After pretesting the material, the media specialists should
revise it according to how they can improve its clarity and
effectiveness.

Such revision will be based on the comments and suggestions of
pretest respondents. Before reproducing the material, it should be pretested
once more. This is to make sure that there are no more elements in it that
create users' misunderstanding.

BASIC HANDLING AND CARE OF MEDIA

Operating Media Equipment

Using communication materials effectively includes using media
equipment for presentation effectively.

Below are some basic considerations in operating and handling
projectors as excerpted from Cadiz (1991; 2003):

1. Voltage. Before even plugging equipment
into an electrical outlet, the media user must first check its voltage. Plugging
a110-volt equipment in a 220-volt socket would certainly damage it.

On the other hand, plugging 220-volt equipment into a 110-volt
socket may not necessarily damage the equipment.

However, it won't work properly because it gets less electric
power than what it requires. When there is no electrical outlet that has the
same voltage as that required by the equipment, a transformer needs to be
used.

To be sure, the media user must check the voltage indicator in
the equipment itself. Usually it is placed near the switches and knobs, at the
back, or underneath the projector.

Some media equipment have voltage selectors. In such cases,
all the user has to do is adjust the selector according to the voltage of the
available electrical outlet.

2. Light intensity. When the media user turns on the
power switch of the projector, the first thing that happens usually is that it
turns on its light source.

Some projectors have adjustments to regulate light intensity.
A high intensity allows a clearer, brighter image to be shown.

However, a higher light intensity also heats up the bulb and
projector motor faster, lessening bulb lifespan. High lamp intensity is needed
when we need to position the projector far from the projection surface or screen
to get a large image size.

To make the projected image clear enough, the room may need to
be fully darkened especially when the projector has to be very far from the
screen.

3. Image size. Image size is adjusted by bringing the
projector nearer or farther away from the projection surface or
screen.

If a larger image is desired, it is moved away from the
screen. If a smaller size is desired, it is moved closer to it.

Some projectors also have zoom lenses that allow making the
image larger without adjusting the distance of the projector from the
screen.

Often, all that is needed is to rotate the lens to adjust the
size of the projection.

4. Focus. The projected image should have sharp (not
blurred) edges. This can be adjusted using the focusing knob.

5. Positioning of material. Once a media user has
focused a projector, everyone would at once see if the photographic slide,
overhead transparency, visual, or motion picture has been positioned
properly.

Each type of projector has a specific place where the material
to be projected is properly positioned.

Proper positioning of the material on the projector prevents
creating disturbances due to images coming out reversed or upside down on the
screen.

Sequencing of visuals such as slides must also be correct.
Thus, a media user must always preview audiovisuals before they are presented to
make sure that they are properly positioned, sequenced and
synchronized.

6. Image height. The projected image must be high
enough so that everyone can adequately see it.

However, it must not be too high such that viewers have to
tilt their heads uncomfortably. To adjust the vertical position of an image,
projectors have leveling or elevating feet to elevate their lenses.

Usually, a knob needs to be turned to extend these leveling
feet to elevate a projector. If the image height is still too low, a higher
projection table may be needed.

Or, thick, flat, stable objects like sturdy books may be used
to elevate the front of the projectors.

HANDLING VISUALS DURING PRESENTATIONS

Visuals during presentations can be handled more effectively
if users mind the following guidelines suggested by Cadiz (1991;
2003):

1. The user must arrange the visuals in their
proper order of presentation before meeting with the learners. This is so that
s/he doesn't have to look for a visual and appear disorganized during the
presentation.

When using many different visuals, the presenter can lay them
out, in an organized fashion, on a table at one side of the front of the room so
that s/he can easily pick out the right visual in their correct order of
presentation.

2. The presenter must see to it that a poster or large picture
to be used for presentation is displayed in a secure and steady position that
can be easily seen from various seats in a room. An appropriate stand for such
visuals may be needed.

Such a stand may also be built as part of some visuals, like
flip charts and flannel graphs. Many times, the chalkboard and its ledge in a
classroom or training room provide adequate support for single visuals. Visual
materials that keep falling off create unnecessary distraction in the
presentation.

3. Visuals must be shown only while they are being discussed.
If the presenter has moved on to a new topic, s/he must keep them out of sight
so that they do not distract an audience from the speaker's message.

4. Visuals must not be displayed all at the same time. This
over-whelms the viewers, who may not be able to follow a discussion in trying to
gaze at so many of them simultaneously.

More than one visual may be shown at the same time only when
they are being compared or when the discussion calls for it.

5. Presenters of visuals must be careful not to block their
audience' view. Moving around helps.

6. When pointing to a specific part of the visual, pointers
instead of plain fingers should be used. This keeps the presenter from blocking
the audience' view.

For overhead transparencies, the user must point on the
transparency on the projector stage using a pencil or other pointed object,
rather than pointing to the screen.

Otherwise, his/her shadow will block the projection on the
screen.

7. When presenting visual materials, presenters should not
lose their eye contact with their audience for prolonged periods. Teachers who
use the chalkboard often commit this mistake.

The leveling or elevating foot (a) under the front
of the projector may be extended by turning the knob (b) to raise the image on
the screen. Knob (c) may be extended to adjust the image so that it projects
evenly.

BASIC COMPUTER SET-UP AND MAINTENANCE

Today, it is much easier and faster to prepare communication
materials than before because we can now use the computer.

However, this requires familiarity with computers. Remoquillo
(2004) shows beginners the basic parts of a computer system that will be useful
in producing communication materials in his illustration below:

Like audiovisual equipment, computers will be useful to us if
they work properly and last long.

Remoquillo (2003) advises the following procedure for
performing disk cleanup, scandisk, and defrag on the computer twice a
week:

In taking care of the computer Remoquillo (2003) gives the
following reminders:

1. Do not eat in front or near the computer. Food
particles attract ants that may enter it and create problems in the
computer.

2. Always scan floppy disks that were used in other computers
for viruses before opening their files. Also, scan the computer for viruses
regularly, preferably twice a week.

3. Shut down the computer immediately when there is power
interruption.

4. Back up your files.

5. Avoid putting cellular phones, speakers, and other objects
with magnets near floppy disks and the computer.

CONCLUSION

In developing an NRMA message and material, its appeal,
approach, content, text and image, context, and source are carefully
planned.

The NRMA message and material must command attention, have a
clear message, communicate a benefit, be consistent, cater to the heart and
mind, create trust, and call to action.

The general steps in developing an NRMA message and material
include 1) developing a message concept based on message devices and a pretest
of the message concept with colleagues; 2) designing a message for a specific
material based on the message concept; 3) pretesting the message concept with
the intended users; 4) developing the storyboard; 5) producing the final
materials; and 6) distributing the material.

A wide range of possible materials can be used in
communicating NRMA with fishers, farmers, and other NRMA stakeholders. They
include objects and specimens; printed materials such as leaflets, brochures,
handbooks, and newsletters; visuals and audiovisuals such as posters, displays,
bulletin boards, audiocassettes, and video; the traditional mass media including
radio and television; and alternative community media like audio towers/ public
address systems, drama, and other folk media.

The leaflet, poster, and video are among the most commonly
used materials in promoting NRMA in developing countries. A leaflet is a
single-sheet printed material that explains a simple idea or procedure in the
limited space available.

It should be well-written so that it is understandable,
containing enough pictures or illustrations to make the ideas clearer.

A poster primarily appeals to the eyes and should have a
strong visual impact. Its message must be short and simple enough to be
understood at a glance. A video is more complicated and expensive to make than a
leaflet and poster, but it generates more interest because of its moving,
life-like images and sound.

Pretesting is a necessary procedure in making sure that
communication materials in NRMA are understood well by their users. It also
helps make sure that scant government funds spent in making them are used
well.

The first level of pretesting is getting the reactions and
opinions of colleagues on a message concept. This allows them to check whether
the message concept is correct, proper, understandable, and appealing.

The next level of pretesting involves presenting the
communication material to a sample of its intended users and asking them what
they understand from it.

They are also asked to give additional comments and
suggestions on how clear is its message and how the material can bring about the
desired response.

Beyond knowing how to make good communication materials in
NRMA, we should know how to use them properly. Part of using communication
materials effectively is being able to operate and handle media equipment
properly.

Basic to operating media equipment are knowing their voltage
requirement; understanding and manipulating light intensity properly; adjusting
image size and height; positioning the material in a projector if applicable;
and focusing the projected image.

In handling visual materials during a presentation, it is
important to make sure they are seen properly and do not keep falling from their
position; facilitators do not block participants' view; they are shown only one
at a time as discussed; and the presenter shows them in a well-organized
sequence.

Computers have become a necessity in developing communication
materials in NRMA. Thus we must also know how to take good care of computers so
that they will always function properly and last long. Proper care of computers
includes regularly performing disk cleanup, scandisk, and defrag on the
computer.

College of Development Communication, University of the
Philippines Los Baños PowerPoint Presentations on Message and Materials
Development; Print Materials Production; Poster Production; Video Scriptwriting;
and Video Production.

UPLB CDC Department of Educational Communication. 2003.
"Scriptwriting for Video". PowerPoint presentation for study tour under
FAO/TCP/CMB 0165. College, Laguna: College of Development Communication,
University of the Philippines Los Baños